Fin (The End, 1978/2010) is an installation made up of one hundred black and white photographs taken from a similar number of photo-love stories. Eugènia Balcells’ aim with the work was to show what she defined as “soil fertilised with frustrations, particularly in the world of the manipulated working class woman.” The work falls within the field of interest of 1970s feminist artists because it criticises the ways that women are represented in art history and the mass media. Photo-love stories interest the artist as products of mass society which, mainly targeting the female market, promote stereotypes and gender-related behaviour within a normalised hegemonic model of coupledom. The pictures, which are from the final scene of each photo-story, are predominantly of the main couple kissing and a brief thought-text of a simple, ordinary expression of absolute happiness. The juxtaposition of these images creates parallels and contrasts loading the pre-existent materials with new meanings, while the group as a whole criticises the subtle imposition of a dominant, conservative social model related to the concept of the traditional couple, and the celebration of the loving relationship as an experience of possession and the negation of the self.